Run: 2026-03-06-01KK1HW6E5MGQF0JZFN82PSDG3

Run Details

Duration:
1m 24s
Cost:
$0.045124
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora nearly dropped the tray when the man at the far end of the bar laughed. Not because the laugh was loud. The Raven's Nest lived on noise, on glass clinking against wood, on low deals struck under old maps and yellowed photographs. Not because it carried over the hum of the room. It did not. It slid under it, neat as a knife under a cuff. What stopped her was recognition, sudden and ugly, rising through her chest before sense could catch it. She set the empty tumblers down too hard. One rang against another. Silas looked up from polishing a glass. "You've broken finer things." Aurora did not answer. She kept her eyes on the man with his back half turned, one elbow on the bar, dark coat cut close, hair shorter than she remembered, jaw sharper, posture better. Less boy sprawled in a student union chair, more man who had learned to take up only the space he meant to keep. He had one hand around a whisky he had barely touched. As if he felt the stare, he turned. For a beat neither of them moved. Then his mouth opened, not in a smile but in something close to pain. "Rory?" The name landed with old force. Cardiff. Lecture halls. Cheap coffee. Rain on bus windows. Eva laughing so hard she snorted wine through her nose. Brendan Carter asking too many careful questions when Aurora brought university friends home. A whole country between then and here, though the distance felt smaller than the width of the bar. She wiped her hands on a cloth she did not need. "Tom." Silas's eyes passed from one face to the other and settled somewhere private behind his hazel stare. "You know each other." "We did." Tom gave a short nod, almost formal. "That sounds about right." Silas set the glass aside. His silver signet ring clicked on the wood. "Rory, table six can wait. Take five minutes." "I didn't ask for a break." "No. I'm giving you one." That was that. Silas never raised his voice when he wanted obedience. He shaved options down until only one remained, then stood back and watched you call it your own choice. Aurora lifted the tray, set it beneath the counter, and came round the bar. Her trainers stuck for an instant to a patch of spilled ale. She hated that he could see the route she had taken from one life into another, carried in details, black jeans washed pale at the knees, restaurant logo still peeking from under her jacket cuff, the faint smell of sesame oil clinging to her despite the bar's smoke and spirits. Tom stepped away from the stool. "You look well." "That's a rotten opener." A crease touched his cheek. Once, that would have become a grin, quick and helpless. Now it faded before it fully formed. "Fair." They took the small table beneath an old photograph of a dock strike. The frame listed to one side. The light here was low enough to flatter no one and kind enough to hide effort. Up close, change showed itself in layers. Tom's face had thinned, but not from hardship. Discipline did that too. There was a pale line near his chin, another by his hairline. His hands, always restless at university, now lay still on the table. The stillness felt practised. Aurora folded her arms. "What are you doing in Soho?" "Meeting someone." "At Silas' bar?" "I didn't know it was his until I walked in." She let that sit between them. In the back room, behind the bookshelf, someone laughed once and stopped. A stool scraped. At the far end, a pair of tourists studied the green neon glow through the front glass as if they had stumbled into authentic danger and felt pleased with themselves. Tom glanced at the bar. "You work here?" "Above it. Deliver for Golden Empress by day, cover shifts here when Silas needs hands." "Right." "You say that like you've been briefed." His fingers tightened once around the whisky glass. "I asked after you." "Who did you ask?" No answer. That was answer enough. Aurora leaned back. The chair complained. "So. You vanished after graduation. No calls. No messages. Not even a bad apology sent at three in the morning. Very mature. Then you appear in my bar looking like someone ironed the student out of you. Forgive me if I skip the pleasant catching up." Tom's eyes flicked to her left wrist where the sleeve had ridden back, exposing the crescent scar. He used to touch that scar when he wanted to win an argument, not enough to notice unless you knew him well. He did not reach for it now. He looked away. "I deserved that." "You deserved worse." "Also fair." She hated his calm more than she would have hated anger. Anger she knew how to meet. Calm sat there like a locked door. A server passed with two pints. The yeasty smell rose and went. Behind the bar, Silas moved with that slight limp, slow enough to seem casual, quick enough that no one waited long. He did not look at them again. That meant he was listening. Tom cleared his throat. "I was in London for work. The meeting moved. I saw the sign and thought I'd have one drink." "What kind of work turns you into this?" "This?" "This polished ghost routine." He let out a breath through his nose. "Consulting." She laughed before she could stop herself. "Oh, that's vile." "It pays better than student politics." "You were never in student politics." "I know." "Then why lie in a room full of liars?" That reached him. His jaw shifted. Good. There he was. Not polished enough after all. "I handle risk for a private firm." "That sounds like consulting in the same way a knife is cutlery." "It is legal." "Again, vile." A woman at the bar called for another gin. Someone near the door dropped a coin. The room kept moving around them, indifferent, and that indifference made the table feel smaller. Tom studied her face in a way that felt careful, almost forensic. "You cut your hair." She touched the straight black length near her jaw. "Years ago." "It suits you." "Still rotten." "I've gone out of practice." "No. You've gone into another one." That line landed clean. He took the whisky then, a small sip at last. He used to throw drinks back as if every night needed outrunning. Now he measured them. Aurora looked at his coat. Good wool. Expensive, but chosen to avoid comment. His watch sat flat, plain face, no shine. His shoes had city dirt on them and no scuffs. "You look rich." "I'm not." "You look expensive." "That, I'll grant." "Is there a wife hidden in that answer? A house with clean windows? A child with a tragic little name like Felix?" His mouth twitched despite himself. "No wife. No Felix." "Shame. You'd have made a superbly absent father." He took that one without flinching. That bothered her more than if he had barked back. "I heard about Evan," he said. The room narrowed. Aurora's hand closed around the edge of the table. Under her palm, old varnish lifted in rough bubbles. "Who told you that?" "Eva." Of course. Of course it would be Eva, bridge-burner, fire-starter, collector of damaged people and lost causes. She could never leave pain untouched. She had always called it care. "You're still in touch." "On and off." "How cosy." "It wasn't cosy." Aurora's laugh came thin this time. "You don't get to know things about me after disappearing." "I know that." "Do you? Because you've walked in here with your expensive coat and your legal knife work and your careful face, and now you speak his name as if it belongs in your mouth." Tom set down the glass. "I wasn't using it against you." "People always say that just before they do." He leaned in then, not much, but enough to lose some of that infuriating control. "I heard he hurt you and I couldn't do a thing about it. Is that better? Is that honest enough for the room?" Aurora held his gaze. His eyes had not changed. That was the trouble. Same dark brown, same direct look, same habit of seeing the bruise under the sleeve and pretending he had not. University Tom had worn earnestness like a second coat and believed that made him brave. This man wore caution instead. It fit him too well. "You could've done one thing," she said. He went still. "You could've answered your phone." The music changed. Someone fed the old jukebox and got an old soul track for the trouble, all scratch and ache. A pair of men near the maps began arguing about football with the sacred fury of the harmlessly drunk. One banged the table in triumph over some point no one else had heard. Silas shushed him with a look. Tom stared at his hands. "My father had the stroke three days before finals." Aurora blinked. She had not expected that. Not because fathers did not fall apart, they did, all the time, but because she had expected cowardice and got catastrophe instead. "He recovered," Tom said. "Mostly. But the firm he'd built, the debt he'd hidden, the people he owed, that all came out at once. My mother couldn't keep up. My sister was seventeen. I went home for a week and walked into a collapse that had started years earlier." "You still had a phone." "Yes." "You still knew my number." "Yes." He looked up. There it was at last, the crack in the polished surface. Not drama. Worse. Shame, old and hard-set. "I answered one call from you. You said, 'Where the hell are you?' I heard your voice and knew if I spoke to you properly, if I let myself hear the life I had here, I'd get on a train back to Cardiff and leave my family in the wreckage. So I said I was busy. Then I switched the phone off." Aurora remembered the call. She had been outside the law building, bag cutting into her shoulder, angry enough to shake. She had thought him bored. Dismissive. Already half in love with a different future. She had built years on that thought, brick by brick. "You should've told me." "I know." "One sentence." "I know." "I would've understood." He gave a bleak little smile. "That's what I feared." She looked away first. On the wall behind him, an old map of Eastern Europe curled at the corners. Prague, marked in red ink. Silas had once told her that maps were lies men hung up to feel the world could be folded. Tonight they looked like wounds pinned flat. "When did you start looking like this?" she asked. "Like what?" "Like sleep costs money." That won a real sound from him, brief and rough. "About four years ago." "So the legal knife work aged you." "The rest did." He rolled his sleeve back just enough to check his watch. On his wrist sat a faint white mark where a hospital band might once have been, or handcuffs, or nothing dramatic at all. Her mind supplied stories because his silence invited them. "What sort of risk?" she asked. He hesitated. "Corporate. Personal. Travel." "That answer has blood on it." "It has contracts on it." "Worse." He looked around the bar then, not idly. He marked exits, faces, hands. Aurora saw it and hated the cold little thrill that moved through her. He had learned a dangerous trade or one adjacent to it. Men did not scan rooms like that because accounting had made them careful. Silas appeared at their table with two fresh drinks, though neither had ordered. He set one in front of Aurora, ginger beer with lime, and topped Tom's whisky by a finger. "On the house." "Since when are you generous?" "Since I grew old enough to enjoy the suspense." Tom looked up at him. "Mr Blackwood." Silas's brows rose a fraction. "We've not met." "No." "Yet you know my name." Tom's expression did not move, but the air changed. Even the gin drinker at the bar seemed to sense it and turned half away, instinct seeking shelter from trouble. "I was told this was a discreet place." "It is, when patrons don't arrive pre-informed." Aurora sat very still. "Tom." He did not look at her. Silas rested one hand on the table. The silver ring caught the low light. "Who told you to come here?" "No one told me to come here." "Who told you what I used to do?" Tom's thumb tapped once against the whisky glass. First sign of nerves. "I know people." "Everyone says that just before they disappoint me." Aurora almost smiled despite herself. Silas did that, dropped a line like a cardsharp laying down trump. Tom finally met Aurora's eyes. "I didn't come for him." "Then why are you watching the door between every second sentence?" His gaze flicked, involuntary, to the front window with its green neon wash. There. Caught. Silas straightened. "How long?" Tom stood so fast the chair legs barked across the floor. "Less than a minute." Aurora turned. Outside the glass, a black car had mounted the kerb at an angle. Not parked, poised. The back door opened. Two men got out in dark coats too similar to be chance. One looked straight through the window at Tom. The other reached inside his jacket. Silas's hand closed on Aurora's shoulder. "Back room. Now." Tom did not move. "They're not here for her." Silas's voice dropped, soft as a razor. "If they're here for you, they're here for anyone in range." The front door handle dipped.
created_at"2026-03-06T12:27:35.765Z" 3/6/2026, 12:27:35 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency451
moderation_latency(null)
generation_time83751
tokens_prompt4618
tokens_completion3529
native_tokens_prompt4131
native_tokens_completion2915
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0451245
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_02c5e83c71fe3cd20169aac837d214819690d8a127cbb9b0b0"
is_byokfalse
latency142
model_permaslug"openai/gpt-5.4-20260305"
provider_name"OpenAI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1772800055-xFZjrx5XhrSba1JvdgAr"
upstream_id"resp_02c5e83c71fe3cd20169aac837d214819690d8a127cbb9b0b0"
total_cost0.0451245
cache_discount0.008928
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences115
tagDensity0.043
leniency0.087
rawRatio0
effectiveRatio0
95.66% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2306
totalAiIsmAdverbs2
found
0
adverb"very"
count2
highlights
0"very"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
91.33% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2306
totalAiIsms4
found
0
word"flicked"
count2
1
word"measured"
count1
2
word"silence"
count1
highlights
0"flicked"
1"measured"
2"silence"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences187
matches
0"f in love"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences187
filterMatches
0"feel"
1"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences297
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen62
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2306
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions22
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions62
wordCount1580
uniqueNames10
maxNameDensity1.2
worstName"Aurora"
maxWindowNameDensity4
worstWindowName"Tom"
discoveredNames
Raven1
Nest1
Carter1
Aurora19
Silas14
Eva2
Tom19
Eastern1
Europe1
One3
persons
0"Raven"
1"Nest"
2"Carter"
3"Aurora"
4"Silas"
5"Eva"
6"Tom"
7"One"
places
0"Eastern"
1"Europe"
globalScore0.899
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences112
glossingSentenceCount2
matches
0"something close to pain"
1"looked like wounds pinned flat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.867
wordCount2306
matches
0"not in a smile but in something close to pain"
1"not much, but enough to lose some of"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences297
matches
0"hated that he"
1"let that sit"
2"touch that scar"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs190
mean12.14
std16.04
cv1.321
sampleLengths
016
168
212
37
44
568
68
77
814
91
1056
1111
121
1317
144
152
167
174
1813
198
206
215
2231
2376
246
253
264
2722
281
2982
304
316
322
333
3410
3551
365
373
3815
391
407
418
424
434
446
456
4646
4749
483
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences187
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs273
matches
0"was listening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences297
ratio0
matches(empty)
96.86% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1583
adjectiveStacks0
stackExamples(empty)
adverbCount69
adverbRatio0.043588123815540114
lyAdverbCount9
lyAdverbRatio0.005685407454200884
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences297
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences297
mean7.76
std7.49
cv0.965
sampleLengths
016
16
221
310
43
511
617
78
84
97
104
114
1230
1323
1411
158
167
1714
181
196
201
212
222
234
2410
2513
2618
2711
281
2917
304
312
327
334
345
358
368
376
385
393
409
4119
4214
4312
4450
456
463
474
485
4910
45.79% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.30303030303030304
totalSentences297
uniqueOpeners90
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences166
matches
0"Then his mouth opened, not"
1"Once, that would have become"
2"Of course it would be"
3"Already half in love with"
4"Even the gin drinker at"
ratio0.03
99.52% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences166
matches
0"It did not."
1"It slid under it, neat"
2"She set the empty tumblers"
3"She kept her eyes on"
4"He had one hand around"
5"She wiped her hands on"
6"His silver signet ring clicked"
7"He shaved options down until"
8"Her trainers stuck for an"
9"She hated that he could"
10"They took the small table"
11"His hands, always restless at"
12"She let that sit between"
13"His fingers tightened once around"
14"He used to touch that"
15"He did not reach for"
16"He looked away."
17"She hated his calm more"
18"He did not look at"
19"He let out a breath"
ratio0.301
68.43% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount130
totalSentences166
matches
0"Aurora nearly dropped the tray"
1"The Raven's Nest lived on"
2"It did not."
3"It slid under it, neat"
4"She set the empty tumblers"
5"Silas looked up from polishing"
6"Aurora did not answer."
7"She kept her eyes on"
8"Less boy sprawled in a"
9"He had one hand around"
10"The name landed with old"
11"Eva laughing so hard she"
12"Brendan Carter asking too many"
13"A whole country between then"
14"She wiped her hands on"
15"Silas's eyes passed from one"
16"Tom gave a short nod,"
17"Silas set the glass aside."
18"His silver signet ring clicked"
19"That was that."
ratio0.783
90.36% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences166
matches
0"As if he felt the"
1"Now it faded before it"
2"Now he measured them."
ratio0.018
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount1
matches
0"At the far end, a pair of tourists studied the green neon glow through the front glass as if they had stumbled into authentic danger and felt pleased with thems…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences115
tagDensity0.043
leniency0.087
rawRatio0
effectiveRatio0
94.0430%